THE LIBERTINE

To set the scene: a group of aristocrats sit in a coffeehouse (the gathering place de rigeur for the privileged of Restoration England circa 1660-1700 or so), seemingly with no other purpose than to argue. Fuelled by the energising drink, they shout, languish and grow hysterical. “Find the good bits. Find the bad bits,” they insist, searching through a script and awaiting the relief of the Libertine, the Earl of Rochester.

Would that someone had decided on the good and bad bits in this show, a recreation of the story of the debauched Earl of Rochester, his relationship with Charles II and the conflicting ideals of sin, ruling a kingdom, excess and ethics. To be fair, there are no bad bits in it – just too many bits, overall. Clocking in at 195 minutes, it is too long to stay interested in a Libertine who himself states in the prologue that he is rubbish. And rubbish he is (the Libertine, not the actor Anthony Gooley), and the hours devoted proving this become a bore, despite many memorable scenes.

Restoration England is an exceptionally interesting period historically and theatrically, and while the bones of the play are solid, it tells far too much and shows even more. This is a shame, because the actors, the sets and the overall feel of The Libertine are all well-executed and transporting. But at more than three hours, even the most devoted might wish for the Libertine to drink his way to a manifesto for a briefer theatre. All in all, oranges allowed.

Until Sep 11, Darlinghurst Theatre Company, $32-37 ,9349 5683, sportforjove.com.au

BY OLGA AZAR